Riccardo Frizza

Riccardo Frizza, one of the Italian directors with a long presence in Spanish lyrical theaters, has been appointed chief conductor of the Hungarian Radio Symphony Orchestra and Choir today, position that will assume from the season 2022/23. This collaboration is the fruit of a long relationship that Frizza has maintained with the Hungarian team since he directed it for the first time in 2010. The appointment will be celebrated during a concert tomorrow 24 March which will take place at the Müpa in Budapest, with the Italian director directing thesecond Symphony Mahler.

Frizza has stated that being the new chief conductor of this ensemble with more than 75 years of history meansA great honor”. The Italian master affirms that he greatly admires “both the musicians and the incredible cultural heritage of Hungary, and being in Budapest always fills me with joy. Since I first worked with this orchestra we have had a deep musical understanding. Today I feel very happy to be able to collaborate together regularly, further developing and strengthening our artistic path. I trust that together we will be among the best and most prestigious European orchestras. this is my goal! O, rather, I can already say 'our' goal”.

morning, 24 of March, the public of the Bartók National Concert Hall of the Müpa waits for him to listen to his version ofthe Symphony Nº. 2 in C minor of Gustav Mahler, imposing choral work of post-romanticism, also known as "resurrection” (“Resurrection”): toHungarian Radio Orchestra and Choir will add theKodály Choir Debrecen, sopranoKinga Kriszta and mezzosopranoErika Gál. “With this concertcontinues Riccardo Frizza– I continue my interpretative project of Mahler's symphonies and the great German symphonic repertoire. conduct the symphonyResurrection these days it's extraordinarily sensitive from an emotional point of view: this work speaks to our conscience as it did at the end of the 19th century. The extreme beauty of its melodies speaks to us of a lacerated and amazed humanity. Mahler, in this torment, he searched for the key to his whole life as a composer. Today we try to enter that world of suffering expressed with the dizzying heights of music, hoping to find –as the composer did– some idea of ​​Resurrection”.

Riccardo Frizza, musical director of the Bergamo Donizetti Festival, is one of the most acclaimed conductors of his generation, being a regular guest of theaters and international festivals such as the Paris Opera, the Chicago Lyric Opera, the Metropolitan New York, la Bavarian State Opera, and the Teatro alla Scala, Teatro Real in Madrid, Gran Teatre del Liceu in Barcelona, ABAO Bilbao Opera, Rossini Opera Festival, Festival Verdi de Parma, Maggio Musicale Fiorentino, National Academy of Santa Cecilia de Roma, Leipzig Gewandhaus Orchestra and Dresden State Orchestra. He has recently directedL'elisir d'amore at the Donizetti Festival, concerts with the Haydn Orchestra and a Tribute to Caruso at the Accademia Nazionale di Santa Cecilia, La clemenza di Tito at the Bilbao Opera, the three queens by Donizetti at the Teatro San Carlo in Naples andL'amico Fritz en el Teatro del Maggio Musicale Fiorentino.

In april 2022 will return to the Metropolitan Opera in New York with a new production ofLucia of Lammermoor. In Spain, in June 2021 won the Ópera XXI Award for best musical director of the season.

Hungarian Radio Choir and Orchestra

Photograph: Simone Falcetta

La clemenza di Tito

The Italian conductor returns to ABAO Bilbao Opera after Lucia di Lammermoor, title with which last year he won the Ópera XXI Award for best musical director of the Spanish season.

will be with La clemenza di Tito, masterpiece of the Mozartian genius never before performed in the ABAO Bilbao Opera program, that the Basque institution and the teacher Riccardo Frizza open their operatic season 2022. The production arrives from the Opéra de Lausanne, whose premiere in the Bilbao capital is scheduled for the day 22 from January (with reruns on days 24, 26, 28 Y 31 from January), with stage direction signed by Fabio Ceresa, set design and costumes by Gary McCann, lighting by Ben Cracknell and choreography by Mattia Agatiello, while in the leading roles are Paolo Fanale (Tito), Daniela Mack (Sixth), Vanessa Goikoetxea (Vitellia), Veta Pilipenko (Annio), ltziar de Unda (Servilia) and Josep Miquel Ramón (Publius).

For Riccardo Frizza, who on this occasion will conduct the Euskadiko Orkestra Sinfonikoa and the Bilbao Opera Choir prepared by Boris Dujin, La clemenza di Tito, Mozart's last opera, “recalls the old stylistic features of the golden period of opera seria, in a world in which with Gluck –the great reformer of the genre– it had reached its maximum splendor and then fell into decline”. The Italian musician has been collaborating with the abaist course for almost twenty years, and this opera, composed to celebrate the coronation of the Grand Duke of Tuscany Leopold II of Habsburg as King of Bohemia, was set to music by Mozart to a libretto by Metastasio “especially revised by Caterino Mazzolà with the reduction from three to two acts, the cutting of various recitatives and the transformation of some arias into ensemble pieces. It has multiple Masonic references in shades, rhythmic cells and in the same argument, extolling the qualities of a sovereign crowned with all virtues, forgiving and enlightened. In the score Mozart's genius emerges in all its splendor drawing a sovereign dedicated to the public good, with fluid musical structures and wonderful music that, definitely, anticipates solutions that later Beethoven, Weber and Rossini will take as a model for their works”, comments the director born in Brescia.

The clemency of Tito is performed for the first time in Bilbao, so I feel very honored that they have trusted me with this task. In the end, I arrive in Bilbao feeling at home to direct a novelty for the members of ABAO. Since my debut in 2005 with La Sonnambula, this is my eighth production in the Basque lands and I am happy to meet again with the musicians of the Euskadi Symphony, with which in 2019 directed Lucia of Lammermoor, title for which the Ópera XXI association awarded me the award for best director of the season in Spain“, concludes Riccardo Frizza.

Among other commitments, in 2022 await you at the Malibran Theater in Venice (symphony concert), Teatro San Carlo in Naples (The three queens de Donizetti with Sondra Radvanovsky e The Barber of Seville), en el Teatro del Maggio Musicale Fiorentino (L'amico Fritz) and at the Metropolitan Opera in New York (Lucia of Lammermoor).

Riccardo Frizza © Gianfranco Rota

Abao Bilbao Opera

Riccardo Frizza









La Cenerentola premieres the season at the Teatro Real

Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

Interview with Riccardo Frizza

He started out playing the piano, until the 14 years, during an Easter holiday in Vienna, attended a concert being fascinated by the figure of the director, none other than Karajan. Why then settle for an instrument, being able to make all of them sound? Thus began the trajectory of Riccardo Frizza. He is currently director of the Donizetti Festival in Bergamo, has recently been awarded as best musical director for his Lucia de Lammermmor in ABAO and from the 23 September will be in charge of premiering one of the most special seasons of the Royal Theater. He does it with La Cenerentola, de Gioachino Rossini, and with the firm intention of showing that the genius of Pesaro is on a par with Mozart or Beethoven and that his Cenerentola is a true masterpiece. Riccardo Frizza



He Teatro Real inaugurate the next 23 September Season 2021-2022 ─the twenty-fifth since the reopening and one hundredth since its inauguration─, with Cinderella, from Gioachino Rossini.

They offer 15 functions of the opera, between 20 September Youth Preview of the Season and 9 October, in a co-production of the Den Norske Opera in Oslo and the Opéra National de Lyon presented in both theaters in 2017, precisely two centuries after its premiere at the Valle Theater in Rome, in 1817.

In fact, Cinderella, that is, goodness in triumph (Cinderella, I mean, The triumph of goodness) it was composed against the clock, in record time of 24 days, with astonishing speed and synchronous coordination between librettist Jacopo Ferretti and Gioachino Rossini, that their 25 years he was already a consecrated composer, with 19 operas in your catalog, including such popular titles as Tancredi, The Italian Girl in Algiers, The turkish in Italy, Otello O The Barber of Seville…

Before the rush of time, Rossini worked piecemeal, reusing fragments from previous operas, how i used to do, in addition to having the collaboration of Luca Agolini for the writing of the recitatives.

Due to the limited technical possibilities of the Roman theater stage and the pressure of the premiere, Rossini and Ferretti decided to use a version of the story by Cinderella stripped of its fantastic elements: the wicked stepmother was replaced by the mean stepfather Don Magnifico; the fairy godmother disappears, leaving Alidoro as ‘godfather’ of the unfortunate maid, and the iconic shoe is replaced by a simple bracelet.

Both the profile of the characters and the score reveal a perfect osmosis between the tradition of the dramma giocoso and from the opera jokes with Don Magnifico and Dandini, heirs of the art commedyand elements of an already romantic ‘realism’ represented by the philosopher Alidoro or the leading couple.

With its astonishing melodic richness and brilliantly effective orchestral palette, Rossini delights in the humor of the characters and the great situations the set numbers, but also with bel canto arias of great sentimental ardor and vocal virtuosity.

The staging of Stefan Herheim returns to the tale of Cinderella its thaumaturgical elements, giving Rossini himself a ‘magic baton’ with which to bring his irreverent characters to life, in a permanent illusionist game closer to the universe of Lewis Carroll than to Charles Perrault.

Herheim recreates himself with the opera dress-up game, dressing up Rossini as Don Magnifico, in a clear nod to the famous production of Cinderella conceived by Jean Pierre Ponnelle, in which Rossini was hiding behind Alidoro, and that Teresa Berganza brilliantly starred.

A double cast will give life to the characters of Cinderella, led by mezzo-sopranos Karine Deshayes Y Aigul Akhmetshina. They will be accompanied by the tenors Dmitry Korchak Y Michele Angelini (Don Ramiro); baritones Renato Girolami Y Nicola Alaimo (Mr. Magnificent) Y Florian Sempey Y Maybe Borja (Dandini); the short ones Roberto Tagliavini Y Riccardo Fassi (Gold wings), las sopranos Rocío Pérez Y Natalia Labourdette (Clorinda) and mezzosoprano Carol García (Tisbe).

The musical direction will be borne by Riccardo Frizza, who already directed the two versions of Tancredi, Rossini also, in 2007. It will have the Headlines Choir and Orchestra of the Teatro Real, that they will interpret again Cinderella 20 years after the last production of this title presented at the Real, with musical direction Carlo Rizzi and stage director Jerome Savary, in 2007.

Photography © Erik Berg

Riccardo Frizza_Donizetti Opera © Gianfranco Rota

The next 20 September the Teatro Real Madrid opens the season 2021/2022 with Cinderella, with stage direction by Stefan Herheim and musical direction by Riccardo Frizza. Rossinian opera will be on stage from 23 September to 9 October with a total of 14 functions, in addition to the preview of the 20 September with invitation-only access. “Spain is the country where I live and that has meant a lot in my professional lifeSays Riccardo Frizza. “Precisely from Spain this year comes a recognition that makes me proud: he Opera Prize XXI, awarded by the association of Spanish opera theaters and festivals for the functions of Lucia of Lammermoor that I directed in 2019 en ABAO Bilbao Opera, and that I will receive the 11 September at the La Zarzuela Theater in Madrid”. The awards ceremony can be seen live from the digital platform OperaVision.

Regarding his return to the podium of the Royal Theater, Frizza assures that, by agenda topics, so far he had only directed a single time at Real, “in 2007, when I had the unrepeatable opportunity to offer two versions of Tancredi Rossini, that of Venice and that of Ferrara. It was an extraordinary experience, both from the theatrical point of view –with a splendid stage direction by Kokkos–, as musical, since a very good harmony was created between the creative team and the two casts, and even from the philological point of view thanks to the assistance of the Fondazione Rossini de Pésaro with the critical edition of his score. It was a great opportunity to sound out an opera composed by a Rossini in his early twenties, very accomplished in relation to the age of the composer and certainly an important link in a chain of immortal masterpieces”.

After fourteen years the master Frizza is very satisfied with the “reunion with a spectacular choir and orchestra, two very well balanced solo casts and a lot of enthusiasm. In these years the world has changed and the pandemic has wreaked havoc on the sector, but music and opera have held out, especially in Spain and especially in the Royal Theater, helping us stay the course. Maybe now we are all a little more mature after this experience on a global level”.

Musical director of the Donizetti Festival in Bergamo, Riccardo Frizza is one of the most acclaimed conductors of his generation, regularly invited to international theaters and festivals such as the Opéra de Paris, Lyric Opera de Chicago, Metropolitan Opera in New York, Bavarian State Opera, Teatro alla Scala in Milan, Rossini Opera Festival de Pésaro, Festival Verdi de Parma, Maggio Musicale Fiorentino, National Academy of Santa Cecilia in Rome, Gran Teatre del Liceu in Barcelona, Gewandhausorchester de Leipzig y Sachsische Staatskapelle de Dresden.

Riccardo Frizza

Photography © Gianfranco Rota

Opera XXI Awards

Carlos Alvarez, Xabier Anduaga, Robert Carsen, Riccardo Frizza, the production of Turandot del Liceu and the artistic and educational project Zarza del Teatro de la Zarzuela will be awarded next Saturday 11 September at the third edition of the Opera XXI Awards.

Next Saturday 11 of September, from 8pm., the third edition of the Opera XXI Awards will be held, the national lyrical awards, that will be carried out in person at Madrid's Teatro de la Zarzuela.

The awards that will be delivered next Saturday, in a ceremony led by the director of the Teatro de la Zarzuela, Daniel Bianco, and stage director Bárbara Lluch, recognize the best of the Spanish scenarios in the interpretation work (best singer and best young singer), musical direction (best director), operatic production (best stage director, best new production, best Latin American production) and the most prominent initiative to promote lyricism during the season 2019-2020, the cycle that interrupted the pandemic and forced the scenic spaces to close down during the worst months of Covid19.

The gala of the third Opera XXI Awards is the first reunion of the highest representatives of the theaters, festivals and lyrical seasons in our country since March 2019, date of the first edition of these awards, since the second edition had to be carried out in streaming. A good number of artists will also be present at the delivery, personalities of the cultural world, social and political and professionals of the main theaters, festivals and lyrical seasons of Spain.

"We are especially excited to meet again in person, after so many months of enormous effort on the part of all theaters, festivals and seasons; of the artists and the magnificent professional teams that we have”, says the president of Opera XXI, Oriol Aguilà. “It was a grueling few months for everyone and we hope to have left the worst of this pandemic behind.. It is a pride to be part of a sector, of a cultural activity, which has been the admiration of the world for his ability to organize and get ahead. It is necessary to value that the opera and zarzuela of our country are today international benchmarks ". In fact, the entire gala will be a tribute to the public, to artists and professionals in the lyrical sector, and will feature the performance of prominent artists from the lyrical scene of our country.

For the celebration of the ceremony, all the health prevention and control measures that the Teatro de la Zarzuela applies to its shows will be taken into account., both in the living room and backstage, to guarantee the maximum safety and comfort of both the public and the artists who will participate in the course of the gala. The show will last approximately one hour and twenty minutes, Y will be broadcast by OperaVision international platforms, ART channel, MyOperaPlayer, in addition to on the web www.operaxxi.com and on the youtube channel of the Teatro de la Zarzuela.

The edition of the awards that symbolize the stoppage due to the pandemic in the Spanish seasons is absolutely exceptional and includes an award for the Best Digital Initiative during lockdown, in order to highlight and value the activities, the generosity and effort developed in the digital and audiovisual field by theaters, seasons and festivals since March 2019, within the framework of social distancing and security measures to prevent the spread of Covid19 in our country. The award ceremony will be held in person at the Teatro de la Zarzuela next 11 September 2021.

The President of Ópera XXI acknowledges that: "It is important, remembering, remember those first closings and cancellations, the uncertainty of a completely new and unknown situation for us and the path of constant reinvention that we have traveled up to now. Once again the essential character of our activity and its social and economic dimension were revalidated. That is why we want the next 11 September be a celebration of all that, that we can finally be united and continue to strengthen ties and that it be the first step in a cycle of seasons, he 20/21, completely different and hopeful ".

The jury of this edition, that met at the Teatro Real in Madrid last 10 May 2021, It is made up of people of recognized prestige and with a deep knowledge of current national lyrical activity. It was integrated by critics and specialized journalists, representatives of the main national and international media, Gonzalo Alonso, Maricel Chavarría, José Luis Jiménez, Alejandro Martínez, Jesus Ruiz Mantilla, Richard Martet, Fernando Sans-Rivière, Eva Sandoval, Victoria Stapells, Javier Pérez Senz, Ana Vega Toscano and manager Andrés Rodríguez, representing and vice president of Opera Latin America (OLA). Also present in the deliberations were the president of Ópera XXI, Oriol Aguilà, the secretary of the association, José Monforte, and the coordinator of the awards, Nieves Pascual.

further, These awards include the granting of three honorary awards: to personal trajectory, to the cultural institution and the drive for patronage, appointed in Assembly by all members of Opera XXI.



He Best Singer Award it's for the baritone Carlos Alvarez (Málaga, 1966), for his portrayal of the role of Rodrigo from the opera ‘Don Carlo’, Verdi, at the Teatro Colón, September 2019, within the lyrical programming organized by the Friends of the Opera of A Coruña.

Carlos Álvarez has one of the most solid careers in the opera scene in recent times. He has sung in the most important arenas in the world, like La Scala in Milan, ROH Covent Garden, Salzburg Festival, Staatsoper de Viena o La Arena de Verona, in addition to being acclaimed year after year in the main stages of our country. Among his many awards, a Grammy Award stands out (2001), the Cannes Classical Award and the Gold Medal for Fine Arts (2003), the prestigious title of Kammersänger the Vienna Opera (2013) and holds the title of Doctor Honoris Causa from the University of Malaga. In season 2019/2020 He also played the character of Alfonso XI in the opera ‘The favorite’, Donizetti, in the Cervantes Theater in Malaga.


The jury also awarded a Special mention within this section to the bass-baritone Carlos Chausson (Zaragoza, 1950), for his portrayal of the title role in the opera ‘Don Pasquale’ in the Maestranza Theater in Seville in October 2019.

Chausson started his career in San Diego, singing the role of Masseto 'Don Giovanni. From that moment he began to stand out in the main companies in the United States, and later in the main opera theaters in the world and in Spain, in cities like Vienna, Zurich, Milan, Berlin, Barcelona or Madrid, and at major festivals, like salzburg. Its wide repertoire includes ‘The Barber of Seville', 'The Marriage of Figaro', 'So do all of them', 'The Italian in Algiers', ‘The daughter of the regimen’ oCinderella', among others, always standing out for the enormous mastery with which he approaches the buffoon roles.


the tenor Xabier Anduaga you will receive the Best Young Singer Award for his brilliant path of success, what, their 26 years, has already established him as one of the best interpreters of today with a outstanding national and international career.

Voice of the Orfeón Donostiarra from the 7 years, Xabier Anduaga (Saint Sebastian, 1995) participate from 2016 at the Rossini Festival in Pesaro, opened the Donizetti Festival in Bergamo with great success in 2018, was the great winner of the Operalia contest held in Prague in 2019 Y, at your age, and with just five years of career, An important gap has already been opened in several of the most prestigious national and international theaters and festivals, the result of an undeniable virtuosity. He debuted the role of Ferrando at the Teatro de la Maestranza in October 2020; that same month he participated in the concert ‘Viva el bel canto’ by Amigos de Ópera de A Coruña, participated in the ‘Christmas Stars’ gala at AGAO last December.


He Best Musical Director Award is for Riccardo Frizza, for his work leading the functions of ‘Lucia di Lammermoor’, Donizetti, in ABAO Bilbao Ópera (Euskalduna) in October 2019.

Musical director of the Donizetti Opera Festival in Bergamo since 2017, Riccardo Frizza regularly conducts in theaters, musical institutions and most important festivals on the international scene and has been in charge of several of the main orchestras in the world. His presence is also common in coliseums and festivals in our country, Where, in 2021 has directed at the Gran Teatre del Liceu The Tales of Hoffmann and the concert The three queens with the final scenes of Donizetti's Tudor trilogy (Anna Bolena, Maria Stuarda Y Roberto Devereux) with soprano Sondra Radvanovsky. In September he will return to the Royal Theater inaugurating his season with Cinderella. He specializes in the Italian repertoire of composers such as Donizetti, Bellini, Rossini, Verdi and Puccini.


He Best Stage Direction Awarda is for Robert Carsen, for his proposals for the opera Elektra, Richard Strauss, at Palau de les Arts from Valencia in January 2020, and for his work in the Teatro Real for the functions of The Valkyrie, Wagner, on February 2020.

Born in Toronto, Robert Carsen studied at the Old Vic Theater and for five years was an assistant at the Glyndebourne Festival. He has directed titles such as'The dead City' at the Komische Oper in Berlin, 'Der Rosenkavalier' in the Royal Opera House in London, ‘Don Giovanni and Katia Kabanová’ at the La Scala Theater in Milan, o ‘Wozzeck’, ‘Agrippina’ y ‘The Turn of the Screw’ en el Theater an der Wien. If something defines his style, it is the combination of visual poetry and movement., that he has brilliantly applied in his post-apocalyptic aesthetic to the Wagnerian work in the Madrid Coliseum and to reach the emotional guts of Strauss's protagonist at the Elektra in Valencia.

TURANDOT, Gran Teatre del Liceu

The award for Best New Production is for the Turandot, Puccini, programmed by the Gran Teatre del Liceu in October 2019.

Futuristic and poetic bet, this montage with which the Barcelona video artist Franc Aleu debuted as stage director, with Susana Gómez from Oviedo as co-director, filled the stage with visual metaphors, colors and textures, making use of the latest technologies. The Teatre del Liceu inaugurated the season 2019/2020 with this title, that had an important creative team in which they appear, as well as Franc Aleu and Susana Gómez, the scenery Carles Berga (and Franc Aleu), he locker room from Chu Uroz, multimedia technologies Jose Vaaliña, Marco Filibeck lighting, 3d art infographic of Nile Pond, Martina Ampuero and Romà Hereter; assistance to the stage direction of Salva Bolta, assistance to the changing room of Joana Poulastrou, lighting assistance Oscar Frosio, construction of the scenery of Delfini Group S.R.L., making the wardrobe of Pachuco, Txu, S.L.; multimedia technologies Eyesberg Studio, robots for scene Universal Robots and its integration by Iberfluid Systems and the programmer VR App Giuseppe Morittu.


The Award for Best Development Initiative of the Lyric is for him Zarza project, artistic and outreach project created by the director the Teatro de la Zarzuela, Daniel Bianco, with the aim that the young generations know the Spanish lyrical heritage, to approach new audiences and to open the door to new generations of artists.

The motto of the project is "Zarzuela made by young people and for young people" and to date, in its five editions, has adapted four classics of our boy genre: 'The revoltosa', ‘The duo of the African’, ‘La Verbena de la Paloma’, and water, sugars and brandy ', and has submitted an original title, the recent ‘Amores en zarza’, whose story unfolds through a selection of musical numbers from different zarzuelas. Starring artists from between 18 Y 30 years, the works of ‘Zarza’ adapt the texts and the scene to the contemporaneity of the new public.


The jury of the Opera XXI Awards awarded ex aequo the Best Digital Initiative Award during confinement to the plataforma My Opera Player, the video library platform of the Teatro Real, and to Peralada Livestream Festival.

After the theaters closed in March 2020, because of Covid19, and during the toughest months of the pandemic, the Teatro Real consolidated the projection of its audiovisual platform and offered all its contents to the world, so that thousands of people could enjoy its extensive catalog openly and with free access to content. further, expanded its offer of shows and incorporated new sections to offer a documentary and didactic vision and enrich the user experience.

Given the impossibility of offering their shows in person in July 2020, the Peralada International Festival reinvented itself and launched the Peralada Livestream Festival, an exceptional edition adapted to the situation and totally free that took place in the Carme area of ​​the Peralada castle and featured artists such as bailaora María Pagés, the soprano Sabina Puértolas, the musical director Josep Pons at the head of the Liceu Symphony Orchestra; or the singer and composer Alfonso de Vilallonga. The festival developed in parallel an informative campus and an exhibition space.

OLA AWARD, in collaboration with Ópera Latinoamérica

The Award for Best New Latin American Production fell on the production of ‘The Italian in Algiers’, Rossini, that could be seen in the Municipal Theater of Santiago de Chile in October 2019, with stage direction by Rodrigo Navarrete and musical by José Miguel Pérez-Sierra.

Navarrete places the action between the end of the 60 and early 70 twentieth century, at a time that is linked and thus interspersed in its proposal with the independence of Algeria (1962), the appearance of the mini skirt (Mary Quant) and the first important female leaderships.

After reading the jury record and revealing the record of the third edition, the secretary of Opera XXI and general director of the Palau de les Arts de Valencia, José Monforte, stressed that: "They have been complicated months for lyrical. Therefore, these awards are especially important this year. They symbolize the effort of many people in the sector to overcome the uncertainty and difficulties of a season that was cut short by the pandemic. Culture is necessary and, Besides, economic motor. We are excited and eager to continue working and see our theaters again filled with 100% gauging”.

The director of the Teatro de la Zarzuela, Daniel Bianco, remarked for his part during which this time of pandemic "It has served to determine the place that corresponds to us, our ability to react to the most serious and unexpected problems ". Who are part of Ópera XXI, added, "We have been for many months a beacon of world poetry, mirror where from any corner of the world they have wanted to look at themselves. An example of how you can act in the most responsible way without giving up raising the curtain every night. And the public, that at the end of the day is the one who gives us life, that is how he understood it; he wanted it that way. We have learned, definitely, that culture is increasingly necessary and, Of course, safe".



During the first week of May, Opera XXI Assembly, held at the Teatro de la Maestranza in Seville, established the honorary awards of this third edition of the Opera XXI Awards.

Riccardo Frizza

After conducting in May for the second time in the season of the Barcelona Liceu (The Tales of Hoffmann and the show The three queens by Donizetti with soprano Sondra Radvanovsky), and to be recently awarded by Ópera XXI to the best musical director for his work at the head of the functions of Lucia of Lammermoor, Donizetti, that inaugurated the season 2019-2020 by ABAO Bilbao Opera, the Italian conductor Riccardo Frizza returns tomorrow to the Paris billboard, whose audience knows him well having conducted on several occasions in various stages of the city of the Seine. On this occasion it will be to lead the Orchester de Chambre de Paris from the podium of the Théâtre des Champs-Élysées one of the fundamental titles of romantic bel canto, La Sonnambula, Bellini, and that arrives at the Parisian Coliseum in a new montage with stage direction signed by the also tenor, manager and writer Rolando Villazón - making his directorial debut in Paris - and co-produced between the Champs-Elysées, la Semperoper Dresden, the Metropolitan Opera of New York and the Opéra de Nice Côte d’Azur. Frizza, musical director of the Donizetti Festival in Bergamo and an authority on the bel canto repertoire, will have on stage, among others, South African soprano Pretty Yende in the demanding role of Amina, Francesco Demuro as Elvino and Alexander Tsymbalyuk as Rodolfo. La Sonnambula will be broadcast by France Musique and the performances will be on the days 15, 17, 20, 22, 24 Y 26 of June.

After their engagement in the French capital, Riccardo Frizza will conduct a concert with the tenor Bryan Hymel at the Teatro Regio in Parma framed in the edition 0 of the Toscanini Festival (21 of June) and for the summer it will offer master classes organized by the Venice Biennale between the 2 and the 11 of July before returning to Spain to inaugurate in September the season of the Royal Theater of Madrid with Cinderella, Rossini.

Riccardo Frizza

Théâtre des Champs-Élysées

Riccardo Frizza

Just presented the Donizetti Opera Festival program, the most important one dedicated to the bergamasco composer, Riccardo Frizza enthusiastically faces the edition of 2021 directing L'elisir d'amore with Javier Camarena at the head of the cast, in a season in which the inauguration of the Royal Theater course with Cinderella and his return to the Metropolitan in New York with Lucia of Lammermoor.

The last edition of the Donizetti Opera Festival was the one of the pandemic and it was complicated”, says Riccardo Frizza from Paris, where it is in full trials of the production of La Sonnambula which opens at the Théâtre des Champs-Elysées on 15 of June. Despite the restrictions imposed by the difficult situation in Italy, The Festival created a specific online TV channel for the programming of 2020 (with logical adjustments due to the pandemic), becoming the first to offer shows from a theater closed to the public. “It is very exciting to see that the hard work done in all these difficult months for the Festival and for the country has been worth it., but, Fortunately, this year we face the future with light and hope, in an edition in which we will meet our loyal public in the room of the recently renovated Teatro Donizetti”, comments Frizza, musical director of the festival. The contest will be held between 18 November and 5 from December, and Frizza will take command of the first opera, L'elisir d'amore, with a cast in which the Mexican tenor will shine Javier Camarena in the role of Nemorino in a new production signed by Frederic Wake-Walker (day functions 19 Y 28 November and 5 from December).

The Festival will start with a operashow with fragments of works by Donizetti, Offenbach, Rossini or Mozart, with dramaturgy of Alberto Mattioli Y Francesco Micheli –Director of the Festival–, in which the participation of the bass born in Bergamo stands out Alex Esposito and artists from the Bottega Donizetti academy (18 of November). The operatic program will be completed with two more titles: The Regimen's Daughter, with the Marie of the Spanish Sara Blanch next to John Osborn as Tonio and Paul Bordogna like Sulpice, in a new production directed stage by Ernesto Doñas (21 Y 26 November and 3 from December). The third opera on the poster will come from the hand of Simon Mayr - Donizetti's teacher - and Medea in Corinth and a cast consisting of Roberto Lorenzi, Michele Angelini and Carmela Remigio, with stage director Francesco Micheli and under the baton of Jonathan Brandani (20 Y 27 November and 4 from December).

All opera titles will be, as usual, interpreted from the new critical editions; will complete the program a recital by Sara Blanch Y Paul Bordogna at the Teatro Sociale in the city of Donizetti.

Riccardo Frizza, during the season 2021-2022, In addition to its participation in the Donizetti Festival, it will inaugurate in September the course of the Royal Theater of Madrid with Cinderella Rossini and will return to the Metropolitan in New York with Lucia of Lammermoor of Donizetti in April 2022, among other commitments.

Photograph: Gianfranco Rota

Riccardo Frizza

Festival Donizetti

Riccardo Frizza_Belcanto Concert © Monte-Carlo Opera_Feb 2021

After directing Rigoletto at the Maggio Musicale Fiorentino last February in a production directed by Davide Livermore that was recorded behind closed doors due to the current closure of theaters in Italy and which will soon be broadcast on streaming, Riccardo Frizza returns to Barcelona in May to take command of the lycée symphony on 6 Y 8 May to conduct soprano Sondra Radvanovsky at the concert The Three Queens, with the final scenes of Donizetti's Tudor trilogy (Anna Bolena, Maria Stuarda Y Roberto Devereux). The show, premiered at the Chicago Opera in 2019, will have the stage direction of Rafael R. Villalobos, who has designed a specific setting and wardrobe for each queen. Faced with this reunion with Sondra Radvanovsky, Frizza assures that “it does not occur to him" think about "a better voice that can face a challenge of these characteristicsThan that of the American singer, “since he knows how to immerse himself in the style achieving an interpretation, both from the point of view as dramatic vowel, I would say sublime”.

This staged concert should have premiered last December, but the sanitary conditions derived from the pandemic forced the Barcelona coliseum to postpone it until this spring. “I am very happy to return to the Liceu for the second time this season, after Les contes d’Hoffman last January, a theater in which I feel at home and to which I will return in future and interesting projects”, concludes the Italian director.

After his engagement in Barcelona, the musical manager of the Donizetti Festival in Bergamo will return to Paris, this time to conduct at the Théâtre des Champs-Elysées La sonnambula, Bellini, the days 15, 17, 20, 22, 24 Y 26 of June before the Orchester de Chambre de Paris and the Chœur de Radio France in a staging whose stage direction is signed by the tenor Rolando Villazón and with a luxurious cast, among which the soprano Pretty Yende stands out as Amina and Francesco Demuro in the role of The wine.

Facing summer, Riccardo Frizza will offer master classes organized by the Venice Biennale between the 2 and the 11 July before returning to the Teatro San Carlo in Naples to direct five performances of L'elisir d'amore the days 23, 25, 27, 29 Y 31 the same month.

Riccardo Frizza_Belcanto Concert © Monte-Carlo Opera

Riccardo Frizza

Gran Teatre del Liceu

Champs-Elysées Theater


After his stay last November at the Donizetti Festival in Bergamo, of which he has been musical director for three years, Riccardo Frizza returns to the Spanish stages, this time to take charge of the ten performances that the Gran Teatre del Liceu in Barcelona has scheduled of Jacques Offenbach's opera The Tales of Hoffmann (18, 19, 20, 21, 25, 26, 28, 30, 31 January 1 February). The Italian master will take charge of the production signed by Laurent Pelly in 2013 for the Barcelona theater, the Opéra National de Lyon and the San Francisco Opera, with which he will surprise when portraying the vicissitudes of the tortured poet Hoffmann.

For Frizza, that already debuted the title in Vienna in 2012, “it is a fascinating title, in which, without a doubt, you have to immerse yourself fully in the libretto and know the texts very well - and their meaning - in order to be able to direct it with coherence; it is a complex work, with many characters and that the composer left unfinished and was later completed by Ernest Giraud. Over the years it has undergone various modifications from which different versions have emerged; at the Liceu we will do what is considered as definitive, that the musicologist Michael Kaye reviewed in the nineties of the last century, who I met in Miami and who explained to me some secrets that helped me to be able to debut it at the time”, affirms the director.

Under the orders of Frizza, in the Liceu two distributions will alternate in which stand out, among others, John Osborn and Arturo Chacón-Cruz as Hoffmann, Olga Pudova and Rocío Pérez (Olympia), Jaho Ermonela (Antonia), Nino Surguladze and Ginger Costa-Jackson (Juliet), Marina Viotti and Carol García (Nicklausse) and Alexander Vinogradov and Roberto Tagliavini (Lindorf / Coppélius / Doctor Miracle / Captain Dapertutto).

After this new commitment at the Liceu, Riccardo Frizza will later continue his international schedule to conduct concerts with Joyce El-Khoury and Karine Deshayes at the Opéra de Monte-Carlo and at the Théâtre des Champs-Élysées in Paris, Rigoletto in the Maggio Musicale Fiorentino, La sonnambula again at the Théâtre des Champs-Elysées and L'elisir d'amore at the San Carlo in Naples. In 2022, among other commitments, highlights his return to the Metropolitan in New York with Lucia of Lammermoor.

Web José Riccardo Frizza

Gran Teatre del Liceu website

Riccardo Frizza

The Italian master returns to the city of canals to take command of the Orchestra and Choir of La Fenice with a concert celebrating the 1.600 years of Venice and with the opera Roberto Devereux, istart of a season in which commitments in Bergamo also stand out, Barcelona, Montecarlo, Florence, Paris and naples.

After conducting a concert last July at the Arena of Verona and offering master classes in Florence in August, Italian director Riccardo Frizza returns to the stage this September with two engagements in Venice, a city in which he has lavished assiduously during his artistic career.

He 8 September will lead the stable bodies of La Fenice in the iconic Plaza San Marcos and in a concert celebrating the 1.600 years of the founding of the city of canals. Sharing the podium with Daniele Callegari, the event will offer a review of some of the most emblematic operatic pages of such popular authors as Verdi, Rossini or Puccini, in which the soprano Claudia Pabone and the tenor Piero Pretti will also participate. “With this concert we want to offer the Venetians joy and hope after the hard period lived by the pandemic; Besides, La Fenice's orchestra and choir will play again in Piazza San Marco after many years, so we are all especially excited”, says Frizza.

Always in Venice but in the emblematic room of the La Fenice Theater, the Italian director will direct the days 15, 17 Y 19 of September Roberto Devereux, Donizetti, one of the titles of the Tudor Trilogy that brings together some of the most beautiful and elaborate passages in the production of the Bergamo composer, as well as a libretto that offers a brilliant psychological analysis of its protagonist, Queen Elizabeth I of England. There will be three performances in semi-staged format and with stage direction by Alfonso Antoniozzi. The main roles include Elisabetta by soprano Roberta Mantegna, Sara de la mezzo Lilly Jørstad, the Devereux of the tenor Enea Scala and the Duke of Nottingham to be interpreted by Alessandro Luongo.

Upcoming commitments will take Riccardo Frizza to stages such as those of the Donizetti Festival in Bergamo, of which is its musical director and in which in the edition 2020 Direct to Belisario Y Marino Faliero; to the Gran Teatre del Liceu in Barcelona where he will conduct a Donizetti concert with Sondra Radvsnovsky and Otello; at the Opéra de Monte-Carlo with a bel canto concert with Olga Peretyatko and Karine Deshayes; at the Maggio Musicale de Florencia with Rigoletto; al Théatre des Champs-Élysées con La Sonnambula and the Teatro San Carlo in Naples with L'elisir d'amore.

Photograph: Joan Thomas

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Riccardo Frizza

The Italian director Riccardo Frizza returns this July to the podium of the Verona Arena festival to direct in the show The Italian heart of music, a lyrical gala in which some of the best voices of international lyric linked to the popular Veronese contest will participate. The gala, offered in memory of the victims of the pandemic and as a tribute to Italian health professionals, will feature singers from that country like Francesco Meli, Fabio Sartori, Roberto Aronica, Fabio Armiliato, Annalisa Stroppa, Barbara Frittoli, Eleonora Buratto, Luca Salsi, Leo Nucci, Daniela Barcellona or Ferruccio Furlanetto, who are joined by many others such as María José Siri or Saimir Pirgu. Master Frizza will share the podium with Marco Armiliato's batons, Andrea Battistoni and Francesco Ivan Ciampa.

This is the second tribute to the victims of Covid-19 in which Riccardo Frizza participates. On Sunday 28 June he put himself in command of the Messa da Requiem by Donizetti thanks to an initiative of the Donizetti Opera Festival in Bergamo for which he is responsible for music, event held at the gates of the Monumental Cemetery of the Lombard city that was broadcast by the RAI and which was attended by the highest Italian authorities headed by the President of the Republic, Sergio Mattarella.

Although maestro Frizza had to have inaugurated in September the season of the Opéra National de Paris with L'elisir d'amore, commitment that has been canceled in the wake of the health crisis, Commitments are waiting for you soon in Bergamo (Belisario, Marino Faliero), Barcelona (Donizetti concert with Sondra Radvanovsky, Otello in Verdi), Montecarlo (bel canto gala) and paris (La Sonnambula), among others.


Web Riccardo Frizza: www.riccardofrizza.com

Riccardo Frizza

Riccardo Frizza, musical director of the Donizetti Opera Festival based in Bergamo (Italy), will lead the next 28 June the Messa da Requiem of Gaetano Donizetti at the gates of the Monumental Cemetery of the city of Lombardy in memory and tribute to the victims of Covid-19. The pandemic hit the city and the entire region of northern Italy hard.. The appointment is expected to have the presence of the country's highest authorities headed by the President of the Republic, Sergio Mattarella, evening in which interpreters closely linked to the territory will participate, such as the soprano Eleonora Buratto, the mezzo-soprano Annalisa Stroppa, tenor Piero Pretti and bass Alex Esposito with the Donizetti Opera Choir and Orchestra.

Riccardo Frizza, director closely linked to different Spanish lyrical coliseums, I affirm that "the evocative power of music will help celebrate this community rite”With which the cultural activity of the city begins. “Before organizing any artistic initiative, what is deeply rooted in our culture, we consider it necessary to pay tribute to the victims and to the common pain that we have all felt for the loss of so many loved ones. For such an act the Requiem Donizetti is the most suitable option, which will be performed by artists related to the Donizetti Festival and to the cities of Bergamo and Brescia, to whom we want to thank their predisposition accepting a symbolic cache”, affirms the Italian teacher.

The Messa da Requiem was composed by Donizetti in 1835 after the death of Vincenzo Bellini, to whom the Bergamo composer professed deep admiration, and was performed for the first time in the Basilica of Santa Maria Maggiore in Rome the 28 April 1870, twenty-two years after Donizetti's own death.

In July Riccardo Frizza - who next season returns to the Liceu de Barcelona to conduct a Donizetti concert with the soprano Sondra Radvanovsky and a production by Otello- will participate in the macro-concert The Italian heart della Musica organized by the Arena di Verona in which they will participate 25 singers and three other directors.

Web Riccardo Frizza

Web Donizetti Opera Festival

After directing Anna Bolena in Rome, Falstaff in Dallas Aida in Venice, Italian director Riccardo Frizza returns to Spain to take command of the new production La Traviata which premieres in August Castell de Peralada Festival (Girona), the most important opera event of the Hispanic world. Frizza debuted in Verdi's work 2005, when he was in a dozen titles repertoire of legendary composer. "I had the offered several times, but until I was sure to do it in optimal conditions, I preferred to wait ". The right moment came at the Teatro La Fenice in Venice, where Verdi himself premiered his work. "With Rigoletto e The Troubadour, I had directed, La Traviata verdiana forms the popular trilogy ", recalls the director. "The melodies of this masterpiece as part of the soundtrack of the West. Who does not know, for example, his famous Brindis? Verdi, with their melodies, He knows how to reach people's hearts and in Peralada we can relive that same feeling ".

Frizza believes that the work presents a very advanced frame to his day, "With an extraordinarily modern protagonist. With this opera Verdi dared to propose as the main character a queen, but a prostitute. When the play opened, in Italy and across Europe were completely patriarchal families, but Violetta rebels, fight for his love who could have been his father ".

Peralada Frizza will command of the Symphony Orchestra of the Gran Teatre del Liceu in Barcelona before the soloists Ekaterina Bakanova, René Barbera y Quinn Kelsey, a mounting Paco Azorín. The functions are scheduled for 5 and the 7 of August.

The next day Riccardo Frizza will move to Solsona (Lleida) to participate, between 8 and the 11 of August, the International Music Academy of Solsona (AIMS) to rehearse with the Symphony Orchestra composed of musicians participating in the Academy and then direct the performers selected in the second Symphony Beethoven.

later, and in September, Riccardo Frizza comenzará temporada 2019-20 inaugurating the course of the Opéra National de Paris I Puritani, Bellini, before directing the start of the season with ABAO Opera Bilbao Lucia of Lammermoor.




Photograph: Riccardo Frizza © Joan Tomás / Fidelio Artist

Riccardo Frizza

After directing at the Teatro La Fenice in Venice Semiramide of Rossini opera commemorating the 150th anniversary of the composer's death and have opened the Donizetti Festival in Bergamo who debuted as musical director, with a concert and opera exhuming Bergamasco Il Castello di Kenilworth-, Italian director Riccardo Frizza back in December to season Gran Teatre del Liceu in Barcelona to take command of another bel canto work, the great The Italian Girl in Algiers de Gioachino Rossini, before traveling to Bilbao, January, to direct I Lombardi in the first Crusade Giuseppe Verdi.

Barcelona Frizza demonstrate his mastery of the bel canto repertoire, which it is a recognized international expert, having two deals led by specialists such as mezzosopranos Varduhi Abrhamyan Y Maite Beaumont, tenors Maxim Mironov Y Edgardo Rocha and low-baritones Luca Pisaroni Y Simon Orfila. Frizza will be in charge of a production of Teatro Regio in Turin signing Vittorio Borrelli. The functions are the days 13, 14, 15, 17, 18, 19, 21, 22 Y 23 from December.

On his return to the podium of the Bilbao Association of Friends of the Opera (ABAO-OLBE) Riccardo Frizza if enfrentará a Verdi opera rarely programada como es I Lombardi alla prima crociata, day functions 19, 22, 25 Y 28 from January, work almost complete the project Tutto Verdi, one abaísta initiative that reviews the entire musical theater work by the Italian composer (the repertoire will be completed with Alzira and Jérusalem). This time the teacher Frizza will feature the voices of José Bros, Ekaterina Metlova and Roberto Tagliavini in the lead roles, in a production of Lamberto Puggelli for the Teatro Regio in Parma.


Photograph: Joan THOMAS / Fidelio Artist

Riccardo Frizza

After passing by La Scala in Milan (The pirate), Opera San Francisco (Roberto Devereux) and La Fenice in Venice (Semiramide), Italian director Riccardo Frizza debuta the 22 November as brand new musical director of the Festival Donizetti Bergamo (Italy), birthplace of the famous composer belcantista. It will in charge of the opening concert of the Festival Orchestra Sinfonica Nazionale with della RAI and with some of the biggest stars style, como soprano Jessica Pratt (resident artist named this year's Festival), mezzosoprano Daniela Barcellona and tenors Levy Sekgapane Y Xabier Anduaga. Meet at the Teatro Sociale of Bergamo and the program includes works by Rossini (commemorating the 150 anniversary of his death) and Donizetti.

Two days later, Riccardo Frizza premiere in modern times unknown opera composer today Bergamasco Il Castello di Kenilworth (day functions 24 Y 30 November and 2 from December), such a
Lyrical global event as it is a highly esteemed by Donizetti itself and provides important part of the role of Queen Elizabeth I of England work, recurring figure in the world of opera.
They will participate in the exhumation, including interpreters, Jessica Pratt, Carmela Remigio, Xabier Anduaga, Stefan Pop and Lorenzo Barbieri, in a new production of Festival Donizetti which bears the signature of the actress and director zaragozana Maria Pilar Perez Aspa.

After their commitments in the world see Donizetti Capital, in December Frizza teacher podium return to Gran Teatre del Liceu in Barcelona to direct L'Italiana in Algeri by Rossini (day functions 13, 14, 15,
17, 18, 19, 21, 22 Y 23 from December), which you will be in charge of a double cast of figures enshrined in art rossiniano.

Riccardo Frizza

The Italian Master Riccardo Frizza, who has just been appointed music director of Opera Festival Donizetti Bergamo (Italy), It is not only an authority in the bel canto repertoire and Italian in general, but also, and especially, the verdiano. And if last year he put himself in charge of more than fifty functions of works of Verdi, Donizetti Y Bellini in some of the most important theaters in the world, in November he returned to Japan to take command of the production of Verdi's La Traviata at the New National Theater in Tokyo. The popular Verdi masterpiece, one of the most beloved of the Japanese public, will feature a cast led by Romanian soprano Irina Lungu, a star in the international lyrical firmament.

This Japanese Traviata arrives on the agenda of maestro Frizza after having achieved a new success in his career with the swan song of the genius Verdiano, Falstaff, at the Teatro Regio in Parma, cradle of the art of Giuseppe Verdi. And from Tokyo he will then travel to the Opéra National de Paris to direct nine performances of Il barbiere di Siviglia by another of the most relevant bel canto authors: Gioachino Rossini.

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Ricardo Frizza

He Donizetti Festival in Bergamo (Italy), see Donizetti international reference in interpretation, structure enriched with a new figure: the internationally famous conductor Riccardo Frizza. The Italian master takes over as musical responsible for a single event in the world dedicated to research and dissemination of the extensive work of composer Bergamasco, cornerstone of romantic bel canto style. The signing was announced by the Councilor for Culture of the City of Bergamo, Nadia Ghisalberti, together with the director of the Fondazione Teatro Donizetti, Massimo Boffelli, to the artistic director of the Donizetti Foundation, Francesco Micheli, and the research director, Paolo Fabbri. The work of the new musical director will be concretized when the programming of the edition is presented 2018 Festival, in which he will also be on the podium.

Riccardo Frizza (Brescia, 1971) he is one of the most important musical directors of his generation. With a wide symphonic and operatic repertoire, is considered an authority in the work of Giuseppe Verdi and in the romantic bel canto (Rossini, Bellini y Donizetti). He is trained at the Milan Conservatory of Music and at the Accademia Chigiana di Siena. In 1998 wins the Czech Republic Directors' Competition and between 1994 Y 2000 is the permanent conductor of the Orchestra Sinfonica de Brescia (Italy), with which he conducts the entire Beethoven Symphonies and a multitude of works from the symphonic repertoire. He is a regular guest at La Scala in Milan, Maggio Musicale Fiorentino, Regio of Turin, La Fenice in Venice, Opera National de París, Festival of Aix-en-Provence, Bavarian State Opera de Múnich, Semperoper Dresden, Zurich opera, ABAO-OLBE, Gran Teatre del Liceu in Barcelona, New National Theater de Tokyo, Lyric Opera de Chicago, Washington National Opera and repeatedly at the San Francisco Opera or the Metropolitan Opera in New York, among other coliseums, in which he has directed mainly works from the great Italian repertoire. Subido on the podium of agrupaciones as the Orchestra of the National Academy of S. Cecilia, Gewandhaus Orchester de Leipzig, Saxon State Chapel in Dresde, The VERDI of Milan, Mahler Chamber Orchestra, St. Petersburg Philharmonic, London Philharmonia Orchestra, Bavarian State Orchestra, Monte Carlo Philharmonic, Tokyo Simphony Orchestra o la Kyoto Symphony Orchestra.

In season 2017-2018 engagements await you at the Teatro Regio in Parma (Falstaff de Verdi), at the New National Theater of Tokyo (Verdi's Traviata), in the National Opera of Paris (The Barber of Seville de Rossini), at Bunkamura's Orchard Hall in Japan (Bellini's norm), at the Zurich Opera House (Luisa Miller also gave), at the Fenice in Venice (Donizetti's elixir of love, Bellini's Norma and Rossini's Semiramide), en la Bavarian State Opera de Múnich (Semiramide de Rossini) or at La Scala in Milan (The Pirata de Bellini).



Riccardo Frizza

Riccardo Frizza, one of the most important music directors of his generation, continues this course focused on one of his favorite composers, Giuseppe Verdi. As an expert in the Italian repertoire that is, the teacher born in Brescia last season led more than fifty titles like Otello functions, Lucia of Lammermoor, Attila, Rule, Rigoletto o I Puritani en teatros como la Opéra National de Paris, La Fenice in Venice, la Lyric Opera de Chicago, Gran Teatre del Liceu in Barcelona or Budapest Mupa; this summer has returned to the landmark Sferisterio Macerata Festival to conduct four performances of Aida in October and will continue with more Verdi, this time at the Teatro Regio in Parma (Italy) the last opera of the genius of Busetto, Falstaff; It will be the days 1, 5, 15 Y 22 October in a new production of parmesan coliseum scene whose address will be given by Jacopo Spirei. Before, he 1 of September, the teacher will fly to Tenerife (Canary Islands) to direct an opera gala at the Tenerife Symphony Orchestra, the tenor tinerfeño Celso Albelo and the soprano grancanaria Davinia Rodríguez.

direct Falstaff, the swan song of Verdi, It is a challenge for any musician, explains Riccardo Frizza. "This masterpiece is universally regarded as the most famous example of artistic stature and compositional genius Giuseppe Verdi", states. "As he has left written in his correspondence, Verdi had fun writing it with her crown and a desire cherished for many years: do comedy again. But not only that: with the composer Falstaff offers the world a new way to make music a comic script, a genre that since the 40 nineteenth century was in crisis both the form and ideas. With this mature work Verdi invented a new style of nineteenth-century abandoning melodramma forms and making disappear completely closed shapes and recitatives. It is a giant step in the history of music and thus direct this title is a real pleasure and an adventure ".

After these functions Falstaff in Parma, Frizza teacher will travel to Japan to conduct five performances of La Traviata at the New National Theater in Tokyo (November) then tackle his long-awaited return to the Opéra National de Paris, scenario in which he leads nine functions of Il Barbiere di Siviglia.

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Ricardo Frizza

Although the repertoire Riccardo Frizza It is as broad as eclectic, It is true that the world is known especially for its teaching in the field of bel canto and the entire Italian opera production. And after reviewing Norma, Bellini, en la Lyric Opera de Chicago, Rigoletto, from Verdi, at Gran Teatre del Liceu in Barcelona, Y Lucia of Lammermoor, from Donizetti, he Gran Teatro La Fenice in Venice, Italian master returns Bellini with I puritani, one of the peaks of romantic bel canto style, this time in the Bela Bartók National Concert Hall Budapest, in Hungary.

The teacher will Frizza commanded the Kolozsvár Opera Choir, the Pannon Philharmonic and a cast headed by Australian soprano consecrated Jessica Pratt, one of the most prominent defenders of style, and the rising Italian tenor Francesco Demuro, Both protagonists of a production firm Csaba Némedi. There will be two performances on 18 Y 21 of May.

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Ricardo Frizza

The musical director Riccardo Frizza back in March and April podium Gran Teatre del Liceu Barcelona to lead 13 functions of the opera Rigoletto from Giuseppe Verdi. The laureate teacher is one of the great directors of Italian operatic repertoire (the press has hailed him as "the new director of Verdi of his generation") bel canto and romantic.
They know this very well in Barcelona coliseum, in which the teacher has recently directed Frizza I Capuleti e i Montecchi, from Bellini, great personal success with audiences and critics. Another of the most important works of this composer, Rule, He directs during the month of February at the Lyric Opera of Chicago, just before putting the baton of liceísta Rigoletto.

Regular guest theaters like the Metropolitan in New York, La Scala in Milan, La Fenice in Venice, the Opéra National de París, the Bayerische Staatsoper in Munich or the Rossini Opera Festival, Frizza teacher has also developed a wide symphonic career against most of the major orchestras of Europe and America.

After these functions Rigoletto in Barcelona you -days 21, 22, 24, 25, 26, 28, 29 Y 30 March and 1, 2, 3, 5 Y 6 of April-, Italian director will face a symphonic concert at the Teatro Grande in Brescia (Italy) with the Philharmonic of La Fenice and will return to La Fenice in Venice to direct nine performances of Lucia di Lammermoor.

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